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Shengze Zhu, A River Runs, Turns, Erases, Replaces, 2021, HD video, color, sound, 87 minutes.
Film
Urban Studies
Erika Balsom on Shengze Zhu’s A River Runs, Turns, Erases, Replaces
Tiffany Sia, The Bastard Scroll, 2021, ink on continuous-feed dot-matrix paper, wooden table, chair. Installation view, Artists Space, New York. Photo: Filip Wolak.
On Site
Lust, Caution
Catherine Damman on Tiffany Sia’s “Slippery When Wet”
Alice Neel, Nancy and Olivia, 1967, oil on canvas, 39 × 36". © The Estate of Alice Neel.
On Site
Staged Mothers
Ara Osterweil on Alice Neel
Barry Le Va, Minneapolis Institute of Art, 1968.
Passages
Barry Le Va (1941–2021)
Michael Ned Holte on Barry Le Va
Jean Dupuy, Cone Pyramid (Heart Beats Dust) (detail), 1968, stethoscope, spotlight, amplifier, wood, glass, red pigment, 64 1⁄8 × 17 1⁄8 × 18 7⁄8". © ADAGP, Paris.
Passages
Jean Dupuy (1925–2021)
Julia Robinson on Jean Dupuy
Maria Chávez performing at Marfa Myths, La Mansana de Chinati/The Block, Judd Foundation, Marfa, Texas, March 2016. Photo: Alex Marks.
SOUND
Matter of Record
Natilee Harren on Maria Chávez
Vanesa Sander and her boyfriend, Salta, Argentina, 1988.
Interviews
Time Regained
María Belén Correa and Cecilia Estalles speak with Devan Díaz and Thora Siemsen about El Archivo de la Memoria Trans Argentina
Ralph Lemon, Rant #3, 2020. Performance view, the Kitchen, New York, February 29, 2020. Ralph Lemon. Photo: Ralph Lemon.
Features
NOTES ON NONPROFIT
Tim Griffin, Ralph Lemon, and Sarah Michelson reflect on the status of the alternative space
Hank Willis Thomas, Remember Me, 2014, neon, 23 5⁄8 × 59 1⁄8".
Features
THE MUSEUM NOW
Artforum has invited some of our leading theorists, curators, artists, and museum directors to consider how art institutions might evolve
Students observing Pablo Picasso’s Guernica, 1937, Warburg Hall, Fogg Museum, Harvard University, Cambridge, MA, 1941. Photo: Exhibition Records (HC 6), folder 2038. Harvard Art Museums Archives, Harvard University, Cambridge, MA. 
Features
THE MODEST MUSEUM
Thomas Crow envisions a more “modest” museum
Paintings for the Art Fund of the Museum of Artistic Culture in the Museum Bureau of IZO Narkompros collection, Moscow, 1919–20. © Encyclopedia of the Russian Avant-garde. 
Features
REQUIEM FOR A DREAM
Alex Kitnick on the avant-garde museum
Heneghan Peng, Palestinian Museum, 2017, Birzeit. Photo: Iwan Baan.
Features
TELL THE WORLD
Hanan Toukan and Adila Laïdi-Hanieh on the Palestinian Museum
Ken Lum, Melly Shum Hates Her Job, 1989, billboard. Installation view, Witte de With Center for Contemporary Art (now Kunstinstituut Melly), Rotterdam, 2013.
Features
WHAT’S IN A NAME?
Sofía Hernández Chong Cuy on Kunstinstituut Melly
View of “Promise, Witness, Remembrance,” 2021, Speed Art Museum, Louisville, KY. Center: Amy Sherald, Breonna Taylor, 2020. Photo: Bill Roughen.
Features
TAKING CARE
Huey Copeland and Allison Glenn on “Promise, Witness, Remembrance”
Hampton University Museum, Virginia, 2016. Center: Henry Ossawa Tanner, The Banjo Lesson, 1893. Photo: Alexander Kravits.
Features
SCHOOL SPIRIT
Jessica Lynne on art and historically Black colleges and universities
Giovanni Bellini, St. Francis in the Desert, ca. 1476–78, oil on panel. Installation view, Frick Madison, New York, 2021. Photo: Joe Coscia.
Features
SPECIFIC OBJECTS
Jeffrey Weiss on Frick Madison
Nida Sinnokrot, KA (Oslo), 2009/2017, two JCB 3CX 1993-model backhoe arms. Installation view, Palestinian Museum, Birzeit, 2017. Photo: Ziad Trad.
Nida Sinnokrot, KA (Oslo), 2009/2017, two JCB 3CX 1993-model backhoe arms. Installation view, Palestinian Museum, Birzeit, 2017. Photo: Ziad Trad.
Summer 2021
VOL. 59, NO. 8
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